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Poster: cream-puff-war Date: Nov 6, 2008 10:37pm
Forum: GratefulDead Subject: Re: TDIH - William Tell's Delight

You might like these rehearsals of SS and The Eleven:

Maybe these Aoxomoxoa outtakes - complete songs are A-Ok Ko-A!

I guess this is a rehearsal for the 1st album (admittedly not for Petulia), albeit one song, Viola Lee, in depth:

The 1966 rehearsal tapes that feature complete songs and some instrumentals - including Stealin', Cold Rain And Snow, You Don't Have To Ask I couldn't find those here but this is similar stuff and includes Cream Puff War:L

Recently the 1965-11-03 Golden State Studios music has been removed from LMA (the comments still reside at:)

This oddity sounds like rehearsals or something for Anthem of the Sun:

This post was modified by cream-puff-war on 2008-11-07 06:37:26

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Poster: William Tell Date: Nov 7, 2008 6:09am
Forum: GratefulDead Subject: Re: TDIH - William Tell's Delight

Thanks CPW! Yep, those AOX out-takes or whatever are really nice. Would've liked to have had a studio Eleven!

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Poster: cream-puff-war Date: Nov 7, 2008 8:55am
Forum: GratefulDead Subject: Re: TDIH - William Tell's Delight

you bet!
...a studio Eleven, polished and gleaming...

The bonus track on the remastered Aoxo has the 15:05 minute long Eleven Jam - recorded in the studio, but it sounds pretty live, though without vocals.
Were a few dozen friends hanging out, dancing around the studio during that session?
The last few seconds are the most intriguing.

The Eleven sessions at Alembic Studios on 12-31-1968
are close to what might be considered studio versions, except it seems the takes weren't intended for Aoxomoxoa, but rather for an extended live album, with songs blending into one another as never before... beyond even Anthem of the Sun in length and musically linked between LP sides.
Alligator was a seperate entity from the Other One suite on Anthem.
A short version of Dark Star had already been recorded for a single, and for some reason was left off of Aoxo... if the studio DS had been segued with the studio St. Stephen, it wouldn't have hurt sales any!
It is a bit low on sound quality, but is worth absorbing the early Elevens, especially #14 for sheer length; and to get an idea of how they worked out the DS/SS/11 transitions.

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Poster: William Tell Date: Nov 7, 2008 11:20am
Forum: GratefulDead Subject: Re: TDIH - William Tell's Delight

Yeah, there are some great ones in these various collections. Too bad they didn't take the plunge and refine one for FINAL release on AOX!

They certainly worked HARD at that one song, eh?

Recall reading Phil or someone saying that in late 67, early 68, they practiced it for hours and then to find them doing it during fall of 68 to such an extent.

One thing I noticed is on the 11-6 rehearsals the sound to StSt is reproduced on 12-7, Bellarmine, even though it morphs in Jan to the sound we hear on the Fillmore run for Live Dead...interesting changes...!!!

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Poster: cream-puff-war Date: Nov 7, 2008 3:46pm
Forum: GratefulDead Subject: Re: TDIH - William Tell's Delight

Check this out, WT - *

I'm listening to

great StST> 11>acid testy banter-tune-up

At 9:30 there was a double line a block long outside the Fillmore Auditorium. At 1 a.m. It was still there, the individuals were new but the packed house still existed. Inside a most remarkable assembladge of humanity was leaping, jumping, dancing, frigging, fragging and frugging on the dance floor to the music of the half dozen rock bands--The Mystery Trend, the Great Society, the Jefferson Airplane, the VIP's, the Gentlemen's Band, the Warlocks and others. The costumes were freeform Goodwill-cum-Sherwood Forest. Slim young ladies with their faces painted a la Harper's Bazzar in cats-and-dogs lines, granny dresses topped with hugh feathers, white hats with decals of mystic design; bell-bottoms split up the side! the combinations were seemingly limitless. At each end of the huge hall was a three foot high sign saying LOVE. Over the bar was another saying "No Booze", while the volunteer bartenders served soft drinks. Alongside the regular bar was a series of tables selling apples! the only dance (outside of Halloween) I've ever been at where they sold apples, Craaaazy! in a corner past the apple table was a baby in a carriage, sound asleep with a bottle and a Teddy bear clutched in his (her?) arms. This crowd was so far out that when Milton Hunt, the distinguished North Beach boulevardier, entered wearing a scrape and a black sombrero and escorting a girl dressed in a Vikki Duggins skirt (cut six inches below the hipline and supported by a thin net top and that's all!) no one turned a hair. It was that kind of a night. Although it was a benefit for the Mime troupe in its fight against "the law's delay, the insolence of office" to which their handest refers in Shakesphearean terms, there were thousands there who never heard of the Mime troupe or at least never had been in one of their shows, as Ronnie Davis pointed out. They were there for a multitude of reasons, and the reasons bear examination. Some were there because the Mime troupe represents, along with Jerry Ets Hotkins, a battle for creativity in the arts. Others, and more I suspect, were there because the Mime troupe's park use hassle dramatizes another aspect of the struggle of US against tHEM. Still others were there as part of the rock revolution. They don't. need booze (as the swing era dancers did). All they need is the sound of the guitars. They get high on decibels alone. and they are hurting to dance. * * * SAN FRANCISCO has been hell on dances for years. The police obviously regard mass proximity of the sexes to the sound of music as a hazard equal to a time bomb. But I suspect this attitude will have to be tempered. The actual demand for dances is going to increase. The whole rock revolution points to dancing, the music ineluctably moves one to move. Another thing about the Friday night revel. There were no guards inside. There was an absence of uniforms and there was no trouble. It was the kind of crowd were over a dozen people stopped dancing, got down on thier hands and knees to help a girl find a contact lens that had popped out during a particularly dramatic movement. They scrambled on the dance floor for a few minutes and found it. She cleaned it in her mouth, popped it back in and the dancing continued. Don't knock the rock, as the British used to say.--Ralph J. Gleason (S.F. Chronicle, 12/13/65).

This post was modified by cream-puff-war on 2008-11-07 23:34:44

This post was modified by cream-puff-war on 2008-11-07 23:46:32

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